“I’m Confessin’ That I Love You” (also known as “Confessin’ (That I Love You),” “I’m Confessin’,” and “Confessin’”) was a collaboration in 1930 between composers Doc Daugherty (sometimes spelled Dougherty) and Ellis Reynolds and lyricist Al J. Neiburg. Daugherty was a bandleader and owner of the Club Hangover in San Francisco. Reynolds was the pianist in the band of George “Doc” Hyder based out of Philadelphia and New York. Neiburg contributed lyrics to two other popular standards: “It’s the Talk of the Town” and “Under a Blanket of Blue.”

Louis Armstrong helped to popularize “I’m Confessin’.” Although his rendition didn’t make the top twenty, several other versions charted:

Guy Lombardo and His Royal Canadians (1930, six weeks, peaking at #2 for one week)

And in 1963 country singer Frank Ifield topped the charts in the United Kingdom for two weeks with his version called simply “Confessin’.”

While this is a gentle love song--“I’m confessin’ that I love you, Tell me, do you love me too?”--the singer expresses suspicion regarding the reciprocation of that love: “In your eyes I read such strange things, But your lips deny they’re true.” Obviously the supplicant is fearful of losing his (or her) loved one and ends by admitting that “All in life on you depends.”

Louis Armstrong’s 1930s recording of this (with the Los Angeles-based band of Les Hite) is a prime example of Armstrong at his early best, on both trumpet and vocal. Young Lionel Hampton is on drums; six years later he would record the tune again, on vibes, as an esteemed member of Benny Goodman’s sextet.

Cornetist William “Wild Bill” Davison fell under the sway of Armstrong yet developed a unique, growling sound. Firmly entrenched in the Chicago style promulgated by guitarist Eddie Condon, his acerbic style graced many a record date. Paired with clarinetist Edmond Hall and a Condon contingent on a 1945 date, Bill alternately caresses and fiercely attacks “Confessin’.”

Tenor saxophonist Lester Young was a fan of the tune, recording it several times over the span of his career. Two are standouts: his first, for the indie label Aladdin in 1947, and for Verve in 1952, backed by the Oscar Peterson Trio.

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